Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then
“cutting-and-pasting” the highlighted notation into one of the many abc
conversion programs available, or at concertina.net’s incredibly handy “ABC
Convert-A-Matic” at

**Please note that the abc’s in the Fiddler’s Companion
work fine in most abc conversion programs. For example, I use abc2win and
abcNavigator 2 with no problems whatsoever with direct cut-and-pasting.
However, due to an anomaly of the html, pasting the abc’s into the
concertina.net converter results in double-spacing. For concertina.net’s
conversion program to work you must remove the spaces between all the lines
of abc notation after pasting, so that they are single-spaced, with no
intervening blank lines. This being done, the F/C abc’s will convert to
standard notation nicely. Or, get a copy of abcNavigator 2 – its well worth
it.[AK]

GLACAN’S REEL. Irish, Reel. Ireland, County Donegal. Collected by Padraig Mac Aodh O’Neill
in 1905 from Donegal musicians and published in The Journal of the Irish Folk Song Society (1905). It is attributed
to the playing of Padraic Glacan of Doe, whose hey-day was in the 1870's
(Caoimhin Mac Aoidh, 1994). Mac Aoidh finds the second part to be similar to
the turn of “Miss Thornton’s
{Reel}.”

GLADLY WOULD I GO. Scottish
(?), March (6/8 time). D Major. Standard. AB. O’Neill (1922) says: “This fine
old march was memorized from the playing of William McLean a famous Highland
piper much admired in Chicago some fifty years ago. The tune in almost
identical setting was included in a book of pipe music, published at Glasgow
about 1825 under two names: The Duke of
Athol'sMarch and a long Gaelic
title expressive of romance and chivalry. Its spirited swing and characteristic
cadences, no less than its Gaelic title indicate an Irish origin.” O’Neill (Waifs and Strays of Gaelic Melody),
1922; No. 79.

X:1

T:Gladly Would I Go

M:6/8

L:1/8

S:Capt. F. O'Neill

R:March

K:D

A/2G/2|F2 A AFA|BGB AFD|F2 A AFd|EFE E2 G|

F2 A AFA|BGB AFD|FA>F GEC|D>ED D2||

A|dBd cAc|BGB AFD|dBd cAc|BGB A2 B/2c/2|

dBd cAc|BGd AFD|FA>F GEC|D>ED D2||

GLADSTONE’S BILL.Irish, Reel. The melody appears in two versions, both having the same
first part and differing second parts. One version appears in the Stephen Grier
and Sutherland music manuscripts from County Leitrim, while the other appears
in (a perhaps lost) manuscript from Larry Smith (Abbeylaragh, Co. Longford)
[Brian McNamara]. Drumlin Records BMNCD2, Brian
McNamara – “Fort of the Jewels” (2004).

GLÂN MEDDWDOD MWYN (Good Humored and Fairly Tipsy). Welsh, Air. The tune appears in
Blind Parry’s collection of Twelve Airs for
one and two Guitars (1760-65), repeated in the 1781 edition. Kidson
(Groves) says the tune is a “slight
deviation” from a once popular song called “The Women all Tell me I’m False to
my Lass,” sung originally at Vauxhall in 1750. Both song and air were printed
in the June supplement to the Universal
Magazine for 1751.

GLASGOW FLOURISH. AKA and see "Miss
Admiral Gordon’s Reel." Scottish. John Glen (1891) finds the earliest
printing of this tune in Joshua
Campbell's 1778 collection (pg. 65). The title comes from the motto of the
city of Glasgow, 'Let Glasgow Flourish'.The title also refers to a Scottish country dance in hornpipe time. Glasgow is Gaelic for ‘green
hollow.’

GLASGOW HIGHLANDERS.
Scottish, Country Dance. The dance is acutally a hybrid country dance, being
part Foursome or Highland Reel, part country dance. The tune played for it
should be a strathspey of the 'fling' type. Glasgow is Gaelic for ‘green hollow.’

GLASS MHEUR.Scottish. A favorite tune in the late 18th
century. Emmerson (1972) reports that in 1785, at the Exhibition of Martial
Music held in Dunn’s Assembly Rooms, that twenty-four pipers played the tune
(along with “Failte a’ Phrionsai” and “Grim Donald’s Sweetheart;” all
long-standing favorites).

GLEANN EOGHAIN. AKA and see "Glen Owen," “Haye’s Fancy,” "The Celebrated Opera Reel,"
“Doon Reel [3]." Irish, Reel. D
Mixolydian/G Major. Standard tuning. ABC. Breathnach (1976) finds the tune
under the title “The Celebrated Opera Reel” in a manuscript from Tipperary.
Paul de Grae remarks the tune can be found in Ryan’s Mammoth Collection (1883) as “The Chorus Jig,” and is related to “The Chorus Reel” family of tunes (also
including “The Glen Road to Carrick” and “On the Road”). Another Slaibh Luachra
title is “Quinn’s Reel,” says Paul, “one
of several of that title named for the Cordal flute player John Quinn, from
whom (fiddler) Pádraig O’Keeffe got much music.” Source for notated version:
fiddler Denis Murphy, 1967 (Gneeveguilla, Co. Kerry, Ireland), who had the tune
from his mentor, Pádraig O’Keeffe [Breathnach]. Breathnach (CRÉ II), 1976; No. 154, pg. 82.

GLEN (HORNPIPE), THE (Crannciuil An Feoran). Irish, Hornpipe. D Major. Standard.
AABB. Source for notated version: Chicago cleric Father James K. Fielding, a
flute player originally from Kilkenny. Fielding was a member of the Irish Music
Club with his friend Francis O’Neill, and was a Gaelic-League activist
[O’Neill]. O'Neill (Krassen), 1976; pg. 191. O'Neill (Music of Ireland: 1850
Melodies), 1903/1979; No. 1673, pg. 311.

GLEN FIDDLER, THE. Irish, Reel. G Major. Standard tuning. AA’B.
Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988), named after a reputedly great fiddler who lived near a glen in
Cavan who Reavy heard of but never met. Reavy (The Collected Compositions of Ed Reavy), No. 22, pg. 23.

X:1

T:The Glen Fiddler

M:2/2/

L:1/8

C:Ed Reavy

R:Reel

N:Ed was told there lived near the edge of the

N:glen a fiddler unlike any he had ever heard. To this day
he wonders

N:about that solitary fiddler and the strange tunes he
played beside a

N:distant glen in Cavan. Although he never saw him play, Ed
has heard

N:some of those same strange tunes in his dreams. And they
have become

GLEN GRANT. Scottish, Strathspey. A Major. Standard tuning. AAB. Composed by C.
Grant in honor of the disctict. The original site of the distillery that gave
birth to the famous Glen Grant label was at Dandaleith, although nowadays the
whiskey is distilled in Rothes. Paul Cranford says the first Cape Breton
fiddler to record the tune was Bill Lamey. Not to be confused with Skinner's
"Glengrant.” Hunter (Fiddle Music of
Scotland), 1988; No. 125. Kerr (Merry
Melodies), vol. 1; Set 10, No. 3, pg. 8. A & M
Records 79602 2000-2, Ashley MacIsaac - “Close to the Floor” (1992). Rounder CD
11661-7033-2, Natalie MacMaster – “My Roots are Showing” (2000).

GLEN LYON'S RANT. Scottish, Strathspey. G Major. Standard tuning. AB. The melody first
appears in John and Andrew Gow’s A
Collection of Slow Airs, Strathspeys and Reels (London, c. 1795). Andrew
(1760-1803) and younger brother John (1764-1826) established a publishing
business in London in 1788 and were the English distributors for the Gow family
musical publications. Glen Lyon is a valley of western Perth and Kinross, which
carries the waters of the River Lyon eastward from Loch Lyon to River Tay. S. Johnson (A Twenty
Year Anniversary Collection), 2003; pg. 25. MacDonald (The
Skye Collection), 1887; pg. 186.

GLEN MORISTON (Tighearna Ghlinnemoreastuinn). Scottish, Strathspey. G Major.
Standard tuning. AAB (Fraser): AABB (Kerr). "The ancient family to which
this air is complementary, has been long remarkable for a race of proprietors,
the most beneficent and kind to their tenantry, and hospitable in the estreme
to friends or strangers. The tenantry, from the above cirumstances, have the
appearence of a superior order of Highlanders, much given to pastime and song;
and it is hoped their beautiful and romantic district, being now rendered the
thoroughfare to the west coast by one of the finest roads in the island, will
tend to the benefit of both. The editor is informed that the present proprietor
has rendered smuggling an irritancy of their leases‑‑an example
worthy of imitation" (Fraser). This tune is likely written by Fraser
(Alburger). Glen (1891) finds a tune by this name in Cumming's collection (pg. 12). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 82, pg. 30. Kerr (Merry Melodies), vol. 3; No. 45, pg. 7. Stewart-Robertson
(The Athole Collection), 1884; pg.
179.

GLEN OF AHERLOW [2], THE. AKA and see “Canny’s,” “The Crane’s Leg,” “Lafferty’s,” “Rediggan’s,” “The Woman I Ne’er Forgot.” The tune was
composed by County Tipperary fiddler Seán Ryan (d. 1985) as “Lafferty’s”
(sometimes seen as “Lafferty’s Reel” or “Laverty’s Reel”) and although it is
sometimes called “The Glen of Aherlow” the latter is the title of another
composition of his. The alternate title “Canny’s” come from association with
Paddy Canny and P.J. Hays who were the first to record the melody in the
1960’s. Bulmer & Sharpley (Music from
Ireland), 1974, vol. 3; No. 3 (appears as “Reddigan’s”). Flaherty (Trip to Sligo), 1994; pg. 40. Miller (Fiddler’s Throne), 2004; No. 163, pg.
104. Seán Ryan (The Hidden Ireland),
No. 28 (appears as “Lafferty’s”). Cló Iar-Chonnachta
CICD 148, Mick Conneely – “Selkie” (2001).John
Carty – “Last Night’s Fun.” Shanachie 76001, “An Historic Recording of Irish
Traditional Music from County Clare and East Galway” (1959. Re-released in
2001).

GLEN OF COPSEWOOD, THE (Airidh nam badan). Scottish, Slow Air (6/8 time). F
Major. Standard tuning. AABB'. "The editor acquired this beautiful melody
from his father, but cannot trace any anecdote regarding it. He, however,
thinks it originated in the district of Glenmoriston, where there is a sweet
spot, which still bears the Gaelic name of it, and marches with the property on
which Mr. Fraser of Culduthel, so often mentioned, then lived. It certainly
bears the marks of his style" (Fraser). Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 38, pg. 13. Morison (Highland
Airs and Quicksteps, vol. 2), c. 1882; No. 28, pg. 15.

GLEN ORCHY. Scottish, Pipe Jig. Composed by the late Pipe Major
Donald Macleod. One famous citizen of Glenorchy was Donnachadh MacCailein, the
Good Knight of Glenorchy, who was slain during to battle of Flodden in 1513.
MacCailein composed a poem which mentions a local harper named Lachlann, whom
he calls “MacBhratnaich bhinn” or ‘sweet voiced Galbriath.’ The knight-poet
pokes fun at the musician because he was notorious for demanding all sorts of
gifts. Lachlann also fell at Flodden field. Green Linnet SIF 1077, Capercaillie ‑
"Crosswinds" (1987).

GLENBEIGH HORNPIPE. AKA and see “Ballybunnion Hop,”
“Curlew Hills (Polka),” “James Gannon’s Barn Dance
[1],” “McDermott’s Barndance,”
“McDermott’s Hornpipe,” “Morrison’s
Polka.” Irish, Hornpipe. G Major. Standard tuning. AABB. The “Glenbeigh
Hornpipe” title comes from the group De Danann, while the “Curlew Hills” title
is from James Morrison’s 1935 recording. Music historian and fiddler Philippe
Varlet believes the “Glenbeigh” title may have come from Charlie Piggott, then
the banjo player with the group, who is a native of Cobh, County Cork.
“McDermott’s Barndance” is the name on fiddler Paddy Killoran’s 1931 record (in
duet with another fiddler, Paddy Sweeney), and Limerick flute player Paddy
Taylor (1969, on “The Boy in the Gap”) called it “Morrison’s Polka.” The
“Ballybunnion Hop” title is a barndance setting of the tune from concertina
player Gearoid O hAllmhurain, and Kerry fiddler Máire O'Keeffe also refers to
this tune as a Donegal barndance (even though Ballybunnion is in north Kerry).
Despite the confusion of hornpipe-polka-barndance titles, the tune is correctly
categorized a barndance. County Sligo/New York fiddler Michael Coleman recorded
the tune as “James Gannon’s Barn Dance” in 1927 (both Morrison and Coleman had
lessons from fiddler James Gannon in South County Sligo). Glenbeigh is in south
County Kerry. See also “Linehope Lope,”
“Bielby’s Hornpipe” and “Military Schottische” for versions in Britain and the
United States. Source for notated version: De Danann (Ireland) [Sullivan].
Sullivan (Session Tunes), vol. 3; No.
26, pg. 10. John Brosnan – “The Cook in the Kitchen”
(apparently miss-labeled as “The Chaffpool Post,” which Varlet believes came
about because the two tunes were paired together on a 1976 John and James Kelly
album).

GLENBUCHET'S REEL. Scottish, Reel. The melody appears in the Drummond Castle Manuscript (1734) in the possession of the Earl of
Ancaster at Drummond Castle. It is inscribed "A Collection of the best Highland
Reels written by David Young, W.M. & Accomptant."

GLENBUCKET
CASTLE. Scottish, Strathspey. C Minor.
Standard tuning. AB. Composed by Alexander Walker. Glenbucket Castle, or
Glenbucket, was built in 1590 by John Gordone and Helen Carnagie on land
between the Water of Bucket and the Don rivers. It was confiscated by the crown
in 1745 due to Brigadier General Gordon’s involvement in the Jacobite uprising
of Bonnie Prince Charlie.

GLENBUCKET’S BREEKS.Scottish, Strathspey. C Major. Standard tuning. AAB. Gow (1817) notes:
“Supposed to have been Composed when it was rare to see Breeches worn in the
Highlands.” Source for notated version: “Communicated by Mr. McLeod of Rasay,”
who gave several tunes to Gow for his collections [Gow]. Gow (Complete Repository), Part 4, 1817; pg.
32.

GLENCOE [1]. Scottish, "Dirge." E Flat Major. Standard tuning. AB.
Composed by J. Scott Skinner after visiting the
village in one of the lovliest glens in the Highlands; from his Harp and Claymore collection. Glencoe
pass is the scene of the infamous Massacre of Glencoe, in which the MacDonalds
were slaughtered by the Campbells to whom they had been hosts (see note for “Massacre of Glencoe”).

***

Glencoe village, Loch Leven and the Ardgour Hills from the Aonach Dubh.

GLENDARUEL HIGHLANDERS. Scottish, March (6/8 time). A Mixolydian. Standard tuning. AABC. The
melody was written by Pipe Major A. Fettes for the family of MacDougall-Gillies
(d. 1925), a 19th century champion piper who was a native of Glendaruel, Argyll
(MacDougll-Gillies won the Oban and Inverness Gold Medals in 1884 and 1885
respectively). Martin (Ceol na Fidhle,
vol. 3), 1988; pg. 36. Tradition 2118, Jim MacLeod
& His Band ‑ "Scottish Dances: Jigs, Waltzes and Reels"
(1978).

GLENDA’S REEL. Canadian, Reel. Composed by fiddler Carl Elliot, born in 1928 in
Pleasant Hills, Nova Scotia. As a teenager Elliot played fiddle and guitar for
dances in a family band, along with his mother and brother. He has resided
since the late 1940’s in Ontario.The
reel is named after his daughter.

GLENDOWAN REEL, THE. AKA and see “The
Glendowan Fancy,” “The Sligo Maid,” “Sligo Maid’s Lament.” Irish, Reel.
The Glendowan area is a mountainous region in the middle of County Donegal. The
piece is known by this title among older fiddlers in the county, and still
retains some currency today. “Sligo Maid” is a related tune. Source for notated
version: Joe Tamoney {sic} (Donegal/USA) [O’Neill]. Caoimhin Mac Aoidh (1994)
explains that O’Neill’s source was a fiddler named Joe Timoney, known in
Donegal as Joe Phaedar Sheain O Tiomanai, who was born and raised at Min a
tSamhaidh, Fintown, Donegal, and who was the great-great-great-great-great
grandson of the renowned poet Tadhg An Fhile O’Tionamai An Aighe. Timoney
emigrated to the United States at the beginning of the 20th century and arrived
in San Francisco just after the great earthquake of 1906. O’Neill (Waifs and Strays of Gaelic Melody),
1922.

GLENFIDDICH STRATHSPEY. AKA – “Glen Fiddich Strathspey.” Scottish, Strathspey. A Major.
Standard tuning. AA’BB’ (Perlman): AABBCCDD (Glen, Marshall). Composed by William Marshall{1748-1833} appearing earliest in his 1781 collection.
Although there is a famous single-malt whisky called Glenfiddich, it is likely
the tune was named after the Duke of Gordon’s hunting lodge, built between
1773/74. It was a large though rather simple structure that had a thatched
roof, and Marshall would have been acquainted with it through his position as
Steward of the Household for Alexander, the 4th Duke of Gordon.
Moyra Cowie (1999) reports Alexander loved to visit this retreat by the River Fiddich,
and used it for his hunting parties; it was still in good repair when Queen
Victoria visited the Lodge in 1887. The building exists today although it has
not been kept up and is delapidated, being used to store grouse feed. Source
for notated version: Peter Chaisson, Jr. (b. 1942, Bear River, North-East Kings
County, Prince Edward Island) [Perlman]. Glen (The Glen Collection of Scottish Dance Music), vol. 1, 1891; pg. 3.
Marshall, Fiddlecase Edition, 1978;
1822 Collection, pg. 18 and the 1781 Collection, pg. 4. Perlman (The Fiddle Music of Prince Edward Island),
1996; pg. 189. Atlantica Music 02 77657 50222 26, Carl
MacKenzie - “Atlantic Fiddles” (1994).

GLENGARRY'S DIRK. AKA ‑ "Mac mhic Alastair,"
"Biodag Dho'ill 'ic Alasdair," "Glengarry
[1]." Scottish, Strathspey. A Major (Scottish versions‑Athole, Fraser,
Kerr, Neil): C Major (Cape Breton/PEI-Cranford, Perlman): D Major (Martin).
Standard tuning. AB (Fraser): AAB (Athole, Cranford, Kerr, Martin, Perlman).
The tune is known in Gaelic as “Biodag Dhòmhnaill ‘ic Alasdaiar” (Alasdair’s
son Donald’s wee knife), and is also a popular pipe tune. "Glengarry's
family have always been celebrated for supporting the dignity of a Highland
chief, and for keeping up a retinue of minstrels; hence the tendency of
minstrels to celebrate their patrons. Glengarry's late piper, his blind bard
and minstrel, and Neil Kennedy, his late fox‑hunter, have all been
listened to with much pleasure by competent judges" (Fraser). 'Mac Mhic
Alastair' is the patronymic given to Glengarry, chief of the Macdonells of
Glengarry. The name was derived from the 15th century son of the Lord of the
Isles, named Alexander. Neil (1991) reports: "The Macdonells of Glengarry
are a branch of the parent Clan Macdonald or Clan Ranald. The Macdonalds were
one of the most powerful and numerous of the clans in the Highlands. From the
reign of King Robert the Bruce, who conferred on them the distinction of taking
up position on the right flank in battle, the Macdonalds have distinguished
themselves by their courage and fighting qualities, which were in evidence over
the years at battles such as Inverlochy and Sheriffmuir." Honors over the
years evidently went to their heads, for the tale is told that a Macdonald
chief was inadvertently misplaced from being seated at the head of the table at
an important gathering; allaying the fears of those assembled, however, the
canny Macdonald declared that 'Where Macdonald sits, that is the head of the
table.' Cape Breton versions are generally played in C Major. The piece was
recorded on a 78 RPM record by Cape Breton fiddler Angus Chisholm. Sources for
notated versions: Peter Chaisson, Sr. (b. 1929, Bear River, North-East Kings
County, Prince Edward Island) [Perlman]; fiddler Ian Kennedy (Fort William,
Scotland) [Martin]. Cranford (Jerry
Holland’s), 1995; No. 72, pg. 22. Fraser (The Airs and Melodies Peculiar to the Highlands of Scotland and the
Isles), 1874; No. 29, pg. 10. Kerr (Merry
Melodies), vol. 2; No. 170, pg. 20. Martin (Traditional Scottish Fiddling), 2002; pg. 79. Neil (The Scots Fiddle), 1991; No. 128, pg. 167
(appears as "Glengarry"). Perlman (The Fiddle Music of Prince Edward Island), 1996; pg. 201.
Stewart-Robertson (The Athole Collection),
1884; pg. 23. WMT002, Wendy MacIsaac – “That’s What
You Get” (1998?).

X:1

T:Biodag Dhò’ill ‘ic Alasdair

T:Glengarry’s Dirk

M:C

L:1/8

R:Strathspey

B:Stewart-Robertson – The
Athole Collection(1884)

Z:AK/Fiddler’s
Companion

K:A

E<C C>B, A,>C E<C|E<C C>c BA F2|E<C
C>B, A,>CE>C|c>BA>F E<C B,2:|

C>EA>E F>EA>E|C>EA>E F>E
C2|C>EA>E F>EA>E| c>B A<F E<C B,2|

C>EA>E
F>EA>E|C>EA>c ecd2|c>ae>c d>Bc>A|B>GA>F E>C
B,2||

GLENGARRY'S FOXHUNTER (Niall Brochdair). Scottish, Slow Air (6/8 time). B Flat Major.
Standard tuning. AAB. "This air, as well as the words, are the genuine
composition of Niel Kennedy, fox‑hunter to Glengarry, being his adieu to
his native country on emigrating to America" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 14, pg. 5.

GLENKINDIE. AKA – “Glenkindie’s Reel.” Scottish, Strathspey or
Reel. G Major. Standard tuning. AABB. There is a ballad about one “Glenkindie,”
a harper, who has the power to induce a whole company to sleep, save for his
lady-love:

***

He harpit a fish out o saut water,

Or water out o a stane,

Or mild out o a maiden’s breast,

That bairn had never nane.

***

To his surprise, however,
the charm is turned against him by his serving-man, who also happens to be
smitten by the lady, and he harps his master asleep instead (Sanger &
Kinnaird, Tree of Stings, 1992). Kennedy (Traditional Dance Music of Britain and Ireland: Reels and Rants),
1997; No. 53, pg. 15. Kerr (Merry Melodies), vol. 4; No. 121, pg. 15. Wilson (Companion to the Ballroom), 1815; pg. 62
(appears as “Glenkindie’s Reel”).

GLENLIVET [1], THE. AKA and see "Minmore Schottische."
Scottish, Strathspey or Highland Schottische. A Major. Standard tuning. AB
(Hardie, Skinner): AAB (Hunter, Martin): AA'B (Alburger). The tune was composed
by J. Scott Skinner (1843-1927), in honor of the
famous Scotch whisky founded by George Smith, who owned an illicit still in
Upper Drummin(Skinner also composed “Colonel Smith’s Lament” in
honor of a contemporary member of the family). In 1797, according to Moyra
Cowie (1999), the parish of Glenlivet had some 200 stills in operation, and,
along with stills in neighboring parishes, they distilled the finest malt
liquor for local consumption and export. The following lines preface the melody
in Skinner’s Elgin Collection:

***

Scott Skinner's made anither tune

The very dirl o't reached the moon

Till ilka lassie an' her loon

Commenced to dance fu' frisky O.

***

Another literary reference to the whisky
in conjunction with fiddling was penned by R.P. Gillies, describing the effect
of James Hogg, “the Ettrick Shepherd”, on Edinburgh society.Hogg was a noted poet and a keen fiddler as
well:

GLENN GRAHAM’S JIG.Canadian, Jig. Canada, Cape
Breton. A modern composition by fiddler Rodney MacDonald, composed for his
cousin. Glenn Graham is also a fiddler, and the cousins recorded an album
together in 1997, entitled “Traditionally Rockin’”. Smithsonian
Folkways Records, SFW CD 40507, The Beaton Family of Mabou – “Cape Breton
Fiddle and Piano Music” (2004).

GLENN TOWLE. New England, Contra Dance Tune (2/4 time). A Major or G Major. Standard.
AABBCC. Composed by musician and caller Dudley Laufman (Canterbury, New
Hampshire) in memory to a young dancer who died in his teens. Hinds remarks
that the tune is used in New England for the contra dance Market Lass.
Hinds/Hebert (Grumbling Old Woman),
1981; pg. 19. Sweet (Fifer’s Delight),
1964/1981; pg. 62. F&W Records 5, Canterbury
Country Dance Orchestra ‑ "Mistwold."

GLENSWILLY. Irish, Slow Air (3/4 time). G Major. Standard tuning. One part. There
was a famous battle at Glenswilly, County Donegal on June 21, 1650, when the
native Irish forces under Heber McMahon, the Bishop of Clogher, were defeated
and routed by a Cromwellian army. Ó Canainn (Traditional Slow Airs of Ireland), 1995; No. 84, pg. 73.

GLENTILT. AKA and see "Ca'
the Wethers to the Hill," “Duke of Athol’s
Forest Lodge, Glen Tilt,” “Glen Tilt Lodge.”
Scottish, Reel. A Major. Standard tuning. AAB. Glentilt is the valley of the
river Tilt, north of Blair Atole, in the extreme north of Perthshire,
Scotland. Beginning at the confines of Aberdeenshire, it follows a
northwesterly direction excepting for the last four miles, when it runs due
south to Blair Atholl where it empties into the Garry. The river Tarif enters
the Tilt forming picturesque falls just above the confluence. The 6th duke of
Atholl (1814— 1864) attempted to close the glen to the public (probably for
private use as a hunting preserve) but was successfully prevented from doing so
by an early group of outdoors-lovers, the Scottish Rights of Way Society. The
lower half of Glen tilt is dominated by three mountains, — Cam nan Gabhar
(3,505 ft.), Ben y Gloe (3,671 ft.) and Cam Liath (3,193 ft.). Marble of good
quality is occasionally quarried in the glen, and the rock formation has
attracted the attention of geologists from the time of James Hutton, an early
geologist who was invited to accompany the Duke of Atholl on a hunting trip.
Hutton became positively appoplexic with joy at the rock specimens he found, so
that some in the party thought he had discovered a vein of gold. Stewart-Robertson (The Athole Collection), 1884; pg. 4. Rounder Records , John L. MacDonald – “Formerly of Foot
Cape Road: Scottish Fiddle Music in the Classic Inverness County Style” (2005).

X:1

T:Glentilt

M:C|

L:1/8

S:Reel

B:Stewart-Robertson – The
Athole Collection(1884)

Z:AK/Fiddler’s
Companion

K:A

A(aae feae|A(aac BcdB|A(aae feae|1 faec B2A>B:|2 faec
B2A>e||

cAAe A/A/A ec|dfec BcdB|cAAe A/A/A ec|dfec B2(Ae|

cAAe
A/A/A ec|dfce BcdB|Aaga faec|dfec B2A2|]

GLENTOWN. AKA – “The Gleanntán Reel [1],”
“Glountane.” AKA and see “O’Keeffe’s
Dream.” Irish, Reel. G Major. Standard. The tune was named (as “The
Gleanntán Reel”) after the birthplace of Sliabh Luachra fiddler Padraig
O’Keeffe. Philippe Varlet points out that the tune is a variation of “Lord MacDonald’s Reel.” It
was recorded as “O’Keeffe’s Dream” by Denis Murphy on his RTE album "Denis
Murphy: Music from Sliabh Luachra.” Currently a set of three reels is popular
in the South-west of Ireland, recorded in various combinations by the famous
Sliabh Luachra fiddlers Julia Clifford, Denis Murphy and Padraig O’Keeffe.
Itconsists of “Galtee Rangers,” “The Glountaine Reel”
and “Callaghans,” and, says
Paul de Grae, if you start "The Galtee Rangers" in a session,
chances are that everyone will continue into the other two after it.”Source for notated version: fiddler Denis Murphy (Gneeveguilla, County
Kerry) [Bulmer & Sharpley]. Bulmer & Sharpley (Music from Ireland), 1976, vol. 4, No. 31.

GLENTOWN HARBOUR.Irish, Jig. D Major. Standard
tuning. AABB. Composed by fiddler Jimmy McHugh, who won the All-Ireland fiddle
title in 1955. McHugh played most of his career in Glasgow, Scotland, and
composed some seventy tunes.

X:1

T:Glentown Harbour

M:6/8

L:1/8

R:Jig

K:D

E|F2 d BAF|FEF EDB,|DFA dcd|BAF
EDE|!

F2 d BAF|FEF EDE|F2 E FDB,|DED
D2:||!

E|F2 E FAd|fed BAF|DFA dcd|Be^d
efg|!

f3 edB|AdB AFE|F2 E FDB,|DED D2:||

GLENTROMIE. Scottish, Strathspey. C Major. Standard tuning. AAB (Athole, Marshall):
AABB' (Kerr). Composed by William Marshall
(1748-1833). Glen Tromie was the site of the hunting lodge of Colonel George
Gordon, the illegitimate child of Alexander, the 4th Duke of Gordon
(Marshall’s employer) and a servant girl by the name of Bathia Largue. Moyra
Cowie (The Life and Times of William
Marshall, 1999), says that despite the illegitimacy (which took place
before her marriage), Jane Maxwell, the Duke’s wife, was very fond of George.
Kerr (Merry Melodies), vol. 3; No.
131, pg. 16. Marshall, Fiddlecase Edition,
1978; 1822 Collection, pg. 45. Stewart-Robertson (The Athole Collection), 1884; pg. 79.

GLIDE WALTZ. Old‑Time, Waltz. USA, Kentucky. G Major ('A' part), D Major ('B'
part) & C Major ('C' part). Standard tuning. AABBAACC. Recorded in 1930 by
the Green String Band (named for the lead fiddler of the band, A. Judson Green,
who coincidentally was born near the banks of western Kentucky's Green River),
who featured particularly effective fiddle harmony on the number. Phillips (Traditional American Fiddle Tunes), vol.
2, 1995; pg. 263. Morning Star 45005, Green's String Band
- "Way Down South in Dixie."

GLIN COTTAGE POLKA [1], THE. AKA and see “Alasdair MacAlister,” “Denis Doody’s [2],” “From Billy to Jack,” “Glen Cottage Polka [1],” “Glen cottage no.
2,” “Green Cottage [2],” “McAllister’s Fling,” “St. Patrick Was a Gentleman [2].”
Irish, Polka. On the Shannon shore eight miles west of Foynes, Limerick, is
Glin and Glin Castle, the home of the Knight of Glin. His family (the
Fitzgeralds) have retained almost uninterrupted possession of the castle for
over seven hundred years. The tune appears in Ryan’s Mammoth Collection
and the Harding Collection as “Alistair MacAllistair”, and as “St.
Patrick Was a Gentleman” in Levey’s and Robbin’s 19th century
collections. Philippe Varlet finds that Irish fiddler Patrick Gafney recorded
it on a 78 RPM in 1923 as “McAllister’s Fling.” Topic
12T357, “Jackie Daly” (appears as first tune of “Glin Cottage Polkas”). Jackie
Daly – “Music from Sliabh Luachra, Vol. 6.” Seamus Creagh – “An Fhidil Vol. 2.”
Denis Doody – “Kerry Music.” James Kelly and Paddy O’Brien – “Spring in the Air.”

GLOOM ON MY SOUL, THIS (Tha m'aigne fo ghruaim). Scottish, Slow Air (3/4 time). A
Major. Standard tuning. AAB. "This air has a variety of Gealic verses to
it, but those most entitled to the denomination of a poem, are Dugald
Buchanan's reflections on turning up and surveying a scull, which he handles
with a versatility of talent worthy of a genuine poet" (Fraser). Fraser (The Airs and Melodies Peculiar to the
Highlands of Scotland and the Isles), 1874; No. 98, pg. 38.

GLOOMY WINTER('S NOW
AWA). AKA and see "Reverend Mr.
Patrick Macdonald of Kilmore," “Lord Balgonie’s Delight,” “Lord Balgo(w)nie’s Favorite,”
"Mr. Nairne's Strathspey."
Scottish (originally), Canadian; Strathspey and Air. Canada, Cape Breton. A
Minor (Cranford, Kerr): E Minor (Howe). Standard tuning. AAB (Cranford, Kerr):
ABC (Howe). Composition of the melody was claimed by Alexander Campbell (1764‑1824)
in his Albyn's Anthology (1815), who
was supposed to have composed it about 1783 under the title "Strathspey,
Rev. Mr. Macdonald of Kilmore." John Glen (1891) notes that there has been
considerable discussion on the origin of the tune, which was inserted in Niel
Gow's Fourth Collection (1800) under
the title "Lord Balgonie's Delight" ('a very old Highland Tune'), and
who thus has a rival claim. The antiquarian Stenhouse and Glen each researched
the tune, with Stenhouse concluding it was an old one, tracing some resemblance
between it and other tunes. In a collection published six years earlier than
the Gow collection Glen found the melody under the title "Mr. Nairne's
Strathspey" but could find no remarks on the age or antiquity of the
melody. He reviewed Campbell's original music sheet and concluded that Campbell
should be credited with authorship and that Gow's claim was unsupportable. In
fact, the tunes origins may have been older than either source, as “Gloomy
Winter” bears resemblance to “The
Cordwainers’ March,” a trade tune of the shoemaker’s guild, printed by Aird some thirty years before Gow. Purser
(1992) is of the opinion that Campbell should be left with the composition, and
sees no particular evidence to award it to the Gows.

***

Lyrics were written by the famous
Scots poet Robert Tannahill, who, like Campbell died in tragic circumstances
(Tannahill drowned himself while Campbell died in miserable poverty). George
Farquhar Graham notes in the Appendix to his Songs of Scotland (1853) that there is a letter he found that
proves Tannahill obtained his tune from Gow’s volume. In the last decade of the
20th century “Gloomy Winter” was used by English composer Michael Nyman as the
theme for the movie The Piano. Source
for notated version: Winston Fitzgerald (1914-1987) [Cranford]. Cranford (Winston Fitzgerald), 1997; No. 213, pg.
85. Howe (1000 Jigs and Reels), c.
1867; pg. 148. Kerr (Merry Melodies),
vol. 1; Set 9, No. 1, pg. 7. Winston Fitzgerald -
“House Parties and 78's.” Rounder 82161-7032-2, Bill Lamey – “From Cape Breton
to Boston and Back: Classic House Sessions of Traditional Cape Breton Music
1956-1977” (2000).

GLORISHEARS [2]. AKA ‑ "Leapfrog" (a descriptive title from the dance).
English, Morris Dance Tune (6/8 time). G Major. Standard tuning. AB, AB, AC,
AC. From the village of Leafield, Oxfordshire, in England's Cotswolds. The
collector Cecil Sharpe called the village Fieldtown, and dances from the
village are known as Fieldtown dances in morris circles today. Sharpe collected
the music for this and other dances from Leafield fiddler Frank Butler. The
music bears no resemblance to the tunes used in Bledington or Headington. Bacon
(The Morris Ring), 1974; pg. 156.
Mallinson (Mally’s Cotswold Morris Book),
1988, vol. 2; No. 19, pg. 11. EMI/Harvest 7243 8 29861
2 6, Ashley Hutchings et al - "Son of Morris On" (1976/1994).

GLORISHER [3]. English, Morris Dance Tune (2/2 time). B Flat Major. Standard tuning.
ABB. The tune is used for a leap‑frog dance from the village of
Bledington, Gloucestershire, England. Cecil Sharpe, who collected the dance,
called it by the descriptive term “Leapfrog” rather than its proper name. John
Kirkpatrick and Neil Wayne (1976) say that the music was designed for slow
capers but that the corresponding quick version of it is not known. This bit of
verse is sung by the dancers during the performance:

***

Why don't you make your bow, Sir?

Because he don't know how, Sir!

***

A similar tune has been collected
from the village of Headington. Bacon (The
Morris Ring), 1974; pg. 89. Topic TSCD458, John
Kirkpatrick - “Plain Capers” (1976).

X:1

T:Glorisher

M:2/2

L:1/8

S:Bacon (MDT)

R:Reel

O:English

A:Bledington

Q:1/2=88

L:1/8

P:A

P:(AB)4

N:transposed up from Bb

K:D

A2 | d4 d3 e| d4 A4|F2G2A2 B2 | A4A4 |\

d4 d3 e |d4A4|F2G2A2 B2 | A4A4 |\

d4 d3 e |d4d4|c2d2e2 f2 | e4 e4 |\

defed2 ag|f2 e2d4 ||\

P:B

|:f2 f2 fgaf | g2 e2e2 e2 | f2 fe d2 f2 | ed cB A4 |\

d2cB A2 d2 | e2 d c d2 e2 | f2 edc2 e2 | d4 d2 :|

GLORY
AT/IN THE MEETINGHOUSE. AKA – “Glory to the Meeting House.”
Old‑Time, Breakdown. USA; Mt. Airy, N.C., Ky. D Mixolydian (Carlin/Sing Out): E Major/Mixolydian
(Phillips): E Mixolydian/Dorian (Titon/Strong). Standard, EDae or ADad tunings.
AABB'BB'C (Carlin/Sing Out): AA'BB'AA'B"B"' (Phillips): ABABACB’ABABA
(Titon/Strong). Jeff Titon (2001) gives its provenance as the Kentucky River
basin. The melody was in the repertoires of Kentucky fiddlers Luther Strong and
W.H. (Bill) Stepp.It was also
collected from fiddlers Bev Baker (Luther Strong’s father-in-law) and Boyd
Asher, from the same region. The EDae tuning appears to have been generally
applied to the tune in the region. Strong (like Baker and Asher) recorded his
version for Alan Lomax and the Library of Congress in 1937, a trip which
resulted in several eastern Kentucky fiddler’s waxing their renditions (on
aluminium disks!) of this tune for the musicologist. The piece is heard played
either in the major or mixolydian mode, and Titon says that Strong’s version
has a dorian character. His version has been so influential, that dorian
versions among modern fiddlers are prominent (Jody Stecher gives a considered
musical analysis in his Fiddler Magazine article). Kentucky fiddler
Hiram Stamper recorded a ‘crooked’ version in the key of D minor, with three
parts, and other regional fiddlers also had ‘crooked’ versions—in fact,
Strong’s version is the only older one to be ‘foursquare’. These older versions
started with one of the high parts first.

GLOUCESTER HORNPIPE, THE. AKA and see “Man from Newry,” “The Swansea Hornpipe.” English,
Hornpipe. G Major. Standard tuning. ABB. From the playing of fiddler Stephen
Baldwin (1873-1955), of Upton Bishop, Herefordshire, who recorded it for
Russell Wortley in 1954. The title “Gloucester Hornpipe” seems idiosyncratic to
Baldwin, who called the tune “Liverpool Hornpipe” two years earlier, when BBC
collector Peter Kennedy visited him. Stephen’s father, Charles Baldwin had
another, different “Gloucester Hornpipe,” which was noted down in 1910 by
collector Cecil Sharp. The tune appears in older tunebooks as “The Swansea
Hornpipe.” O’Neill prints a version as “The Man from Newry.” The name
Gloucester is derived from the Welsh who named the place Gloiu (‘bright’) and Nennius called it Caer Gloiu, meaning ‘the shining fortress’.The presence of the Romans is evidence by
the word ceaster in the name, which
stuck in place of the Welsh caer
(Matthews, 1972). Raven (English Country
Dance Tunes), 1984; pg. 156. Musical Traditions
MTCD334, Stephen Baldwin – “Here’s One You’ll Like, I Think” (2005). Wild Goose
WGS 320, Old Swan Band – “Swan-Upmanship” (2004). .

GLOUCESTER HORNPIPE [2].English, Hornpipe. A different tune than “Glocester Hornpipe [1],” it
was collected in 1910 by Cecil Sharp from fiddler Charles Baldwin (c. 1822-c.
1920), Stephen Baldwin’s father (see note for “Gloucester Hornpipe [1]”). The
tune is a version of “Nelson’s (Hornpipe) [2].” Sharp visited Baldwin, then
aged 88 and residing in the Almshouse at Newent (9 miles from Gloucester in the
Forest of Dean), and noted down five tunes from him, including “Polly Put the
Kettle On” and several morris pieces. Baldwin had played for the morris dancers
at Clifford’s Mesne until around 1870 when the dancing stopped. For some
reason, perhaps a miss-hearing of the local accent, Sharp had Charles’s first
name as George [Philip Heath-Coleman in notes to Musical Traditions MTCD334].
Callaghan (Hardcore English), 2007;
pg. 17. Menteith & Burgess (The
Coleford Jig: Traditional Tunes from Gloucestershire), . Old Swan Band – “Still Swaning After All These Years.”

GLOUNTANE SCHOOL.Irish, Reel. D Major. Standard
tuning. AABB’. Composed by musician Terence “Cuz” Teahan, originally from
County Kerry although long a resident of Boston, Massachusetts. Randy Miller
(2004) notes that the tune honors the school Teahan attended in County Kerry,
where music was taught to the students by noted fiddler Padraig O’Keeffe.
Miller (Fiddler’s Throne), 2004; No.
164, pg. 104.